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Camden Place Chislehurst Kent + Napoléon III

Les Boiseries

It was a two day conference investigating the cultural and commercial migrations of 18th century French boiseries from their places of production in Paris and the Bâtiments du Roi to the drawing rooms of Britain and America. The first major study of boiseries in the context of transatlantic cultural history was appropriately held at Camden Place outside London, a country house with a history and interior shaped by the migration of people and decoration over four centuries.

William Camden, author of Britannia and the Annals of Queen Elizabeth I, built a house close to the current building in 1609. A century later businessman Robert Weston constructed a new residence, calling it Camden House. In 1760 a lawyer named Charles Pratt bought the property and, working with architects George Dance and James ‘Athenian’ Stuart, spent 25 years transforming it into a country house. He renamed it Camden Place. In 1765, Charles Pratt was ennobled and took the title Lord Camden. Cabra Castle in County Cavan and Enniscoe House in County Mayo were Pratt family estates in Ireland. In 1862, the enigmatic lawyer and fixer Nathaniel Strode bought the house. He was friendly with Napoléon III and that is how the Empress came to lease the property.

Dr Alexandra Gaia, lecturer in history at Jesus College Oxford, later confirmed at the Society of Antiquaries in Burlington House Piccadilly London, “William Camden was one of the greatest of English scholars. He was the first chair of history at Oxford – there still is the Camden Chair which is now political, not civil, history. He was at the centre of 16th century intellectual political life in Britain if not the centre.”

Dr Lindsay Macnaughton of the University of Buckingham, who organised the conference with Laura Jenkins of The Courtauld Institute of Art, opened the conference: “We are marking the death of Napoléon III here 150 years ago. The name ‘Camden’ evokes somewhere that doesn’t exist anymore, Château de Bercy.” We are in the dining room of Camden Place which is lined with boiseries from that château. “The scattered surviving evidence of the architectural vestiges of lost houses continue to live and breathe. These panels possess a sense of scale, of shared taste, the layering of history. From an historical perspective boiseries have always, in a sense, been mobile. In the 18th century, Parisian joiners and carvers travelled to locations outside the city to install panelling. Entire decorative schemes were sent abroad to Germany, Spain and Latin America. Shifting fashions and continual reallocations of appartements at Versailles set into motion near ceaseless rotations of décors, including boiseries.”

Her colleague Dr Thomas Jones spoke next on ‘Camden Place as a Headquarters of Bonapartism 1870 to 1879’. “The movement of boiseries is the movement of people and their things, of exile, of friendship. There were nine glorious years of Bonapartism at Camden. This house was ideally located close to ports and accessible to London by rail and the local church is Catholic. Eugénie and her son Louis Napoléon established a household of 62 while they waited for Napoléon III to join them. The year after the Emperor’s death, the Imperial Prince’s 18th birthday had a sense of massive celebration with 4,000 guests. Could there be a Third Empire? Both Napoléons had overthrown Republics, curbing the excessive influence of Paris with provincial assemblies. Their shared dynamic was one of dramatic action, over reach and disaster.” The potential Napoléon IV was killed serving for the British army in Zululand in 1879.

Scholar Dr Pat Wheaton referred to Camden Place as, “A composition of decorative taste, weaving the past until fragments become whole.” As well as Camden in north London he noted there are 23 Camdens in the US, one in the West Indies and three across Australia and New Zealand. Dr Rebecca Walker, also an independent scholar, referred to Camden Place as “an eclectic mix”. Dr Lee Prosser, Curator of Historic Buildings at Historic Royal Palaces, called the house “an architectural conundrum, an eclectic melange”. On a different note, Dr Frédéric Dassas, Senior Curator at Musée du Louvre, observed how the Paris Ritz is an American style hotel of 200 bedrooms behind a retained façade. Another case of design fusion.

The 48 hours (or 72 if you add the pre and post celebrations) spent at Camden Place were full of highlights. As Lee remarked, “There are so many luminaries in this room we hardly need the lights on!” The after lunch graveyard slot on the second day was anything but dead. Here are just some of the quickfire lines of Dr Mia Jackson, Curator of Decorative Arts at Waddesdon Manor, on ‘Contextualising the Rothschild collection of panelling at Waddesdon Manor’: “Waddesdon was originally meant to be twice as large. Think of how more stuff we could have fitted in! It’s like a Parisian townhouse albeit one that has been smoking opium. This is a brief segue into how obsessed I am with the house. If Waddesdon is a stage, boiseries aren’t scenography, they’re actors. The West Hall has some stonking panelling from Palais Bourbon. With the added excitement of carved cats! The Green Boudoir panelling is from Hôtel Dudin and has frankly bonkers iconography. The men ate their first meal of the day in the Breakfast Room while the ladies ate breakfast in bed as is right and proper.”

The most recent biography of Napoléon III is The Shadow Emperor by Alan Strauss-Schom (2018). Colourful extracts include: “a red blooded young man bent on adventure and excitement, and this, combined with an unquenchable idealism, was bound to resurface at the next opportunity … the young man continued to dream in a world of his own … Queen Hortense was without doubt the most influential person in Louis Napoléon’s life, inculcating his moral and spiritual values, strengthening his ego, and enforcing his determination to achieve supreme power … Louis Napoléon spent every day at her bedside. ‘My mother died in my arms at five o’clock in the morning today,’ he wrote his father on 5 October … As for the mourning 29 year old Louis Napoléon, his was a grief that would never disappear.”

“Downing Street gave Louis Napoléon permission to come to England, and the great houses of the capital opened their doors to offer him a warm welcome once again. The prince settled in at the spacious and fashionable 17 Carlton House Terrace, Pall Mall, overlooking St James’s Park. The prince’s second and last principal residence was at nearby 1 Carlton Gardens, a large, handsome, white two storey corner house, now the Foreign and Commonwealth Officer, then owned by the wealthy and influential Frederick John Robinson, the Earl of Ripon.”

“Although the French have never had clubs on as large a scale as the English, and never replicating the ambience and purpose of English clubs, Louis Napoléon himself was a natural ‘club man’ and a frequent visitor to the Athenaeum, Brooks’s, and especially the Navy Club … The key to Louis Napoléon’s private and public life was a modest gentleman rarely mentioned by historians, but whose real role was fundamental to everything … naturally he took his pleasures seriously, which centred more and more around Gore House, Kensington (on the site of Albert Hall). There the lovely Marguerite Gardiner, the Countess of Blessington, resided with her dissolute, effeminate lover and Parisian playboy, the talented painter and sculptor Alfred Count d’Orsay dubbed ‘the Archangel of Dandyism’ by Lamartine.”

Unlocking the Secrets of Camden Place: Remembering Napoléon III 150th Anniversary Dinner sponsored by Ovation Data was held on the first night of the conference. It was hosted by Peter Unwin, Chairman of Chislehurst Golf Club, with guest speech by historian and author Dr Edward Shawcross, and grace by Father Dr Francis Lynch of St Mary’s Church Chislehurst. Wine was suitably cross-channel: Gardner Street Henners Classic 2021 (English Sussex), Château Beaumont 2015 (French Haut-Médoc) and Vouvray Demi Sec Domain de la Rouletiere 2020 (French Loire). Vegetarian courses were roasted squash, Graceburn feta and cobnut dukkah followed by leek, mushroom and potato pithivier. Kingcott blue was served with quince jelly and cheese sablé and pudding was mandarin and lemon posset. Julie Friend was the Chef. Preceding dinner was a reception in the drawing room fuelled by Jacquesson, the Emperor’s favourite bubbly.

Chislehurst Golf Club was founded in 1894,” explained Peter, “We have an 18 hole course in 70 acres of beautiful parkland.” He expressed his compliments on the star studded array of speakers at the conference and summarised the French connection: “On 9 January 1873 Napoléon III, France’s first President and last Emperor, died here at Camden Place. His funeral was a huge event attracting tens of thousands of mourners from France and England. For a combination of reasons his less than ordinary life has been largely eclipsed by his famous uncle. He lived at Camden Place for less than two years but he certainly made his mark! Chislehurst is proud to celebrate its French Imperial heritage and this week we remember the man who gave France 22 years of stable government and economic growth.” The Chairman also remarked that one of the guests, who works for a housebuilder, observed the golf course would make a great housing site.

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Architects Architecture Art Design Developers Luxury People Town Houses

Musée Nissim de Camondo Paris + Winter

L’Assez Grand Trianon
It’s time to get MAD (Musée des Arts Décoratifs) and go Camondo. The 4th Edition of the Michelin Guide to Paris (1960) states, “The building and its contents were left to the Union Centrale des Arts Décoratifs by the Comte de Camondo in 1936, in memory of his son Nissim, killed during the 1st World War. The visit will fascinate amateurs of 18th century furniture and works of art. The museum is arranged as an elegant 18th century home, and is furnished with remarkably sure taste and objects of great beauty.” An explosive profusion of riches.

It’s international art dealer and collector Charles Plante’s favourite house museum. Amsterdam boasts Museum van Loon. Barcelona has Casa Amattler. Lisbon, Medeiros e Almeida House. London, the Wallace Collection. Musée Nissim de Camondo was designed by architect Réne Sergent taking inspiration from Le Petit Trianon in Versailles; it backs onto Parc Monceau in the 8th Arrondisement. In Letters to Comondo, 2021, artist Edmund de Waal describes Parc Monceau as being “… in the English manner with a little lake and bridge and smart flowerbeds full of annual flowers that need to be tended and renewed and weeded so that there are always gardeners head down and meandering paths…”

This three story house built in 1911 to 1914 by divorced financier Moïse de Camondo is separated from the street by a typical Parisian courtyard. The stern steel coloured paint of the casement window frames contrasts with the welcoming honeyed hue of the stone façade. A relatively flat front – a three bay central set back flanked by single bay chamfered links leading to single bay projections – conceals an intricate layout: a butterfly plan spreads out to the rear towards Parc Monceau. This arrangement creates a jigsaw to be filled with geometrically varied rooms within the confines of the external walls.

All three floors are on show from the functional (bathrooms with porcelain sanitaryware by Kula) to the decorative (the Porcelain Room with more Sèvres than a Rosalind Savill book launch) and a collection of salons in between all linked by a fantastical marble staircase hall. The Buste de Négress by sculptor Pierre-Philippe Thomire in the dining room is just one of a myriad pieces of period art. Being here. Doing it. Incessant winter rain emboldens the colour of the stonework, softens the light, intensifies the ambience, creating ghosts in the shadows.

Such beauty from such tragedy. In 1944, Nissim’s only sibling, Béatrice, the last surviving Camondo, and her family were killed by the Nazis for being Jews in 1944. The Camondo family tree was ripped asunder, a dynasty destroyed. The house museum resonates with happier times though. A menu card for déjeuner on the dining room table is dated 2 June 1933: “Melon glacé; Filets de soles Murat; Pouleta pochés à l’estragon; Ris créole; Pièce de boeuf à la gelée; Salade de romaine; Petits pois à la Française; Paillettes au parmesan; Fromage; Granit à la cerise.” Lunch, 11 years earlier…

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Art Design Luxury People

Dame Rosalind Savill + Madame de Pompadour + Sèvres Porcelain + 500 Years of European Ceramics Bonhams London

Reinette  

Jeanne Antoinette Poisson, 1721 to 1764, became official mistress to Louis XV in 1745. Their patronage of the Vincennes / Sèvres porcelain manufactory, both jointly and individually, ensured its success. Its production is characterised by brilliant colours, daring design and an insatiable pursuit of novelty,” explains Nette Megens, Head of Department of European Ceramics at Bonhams. “Her purchases, which she made regularly, from 1747 until her death, and the factory’s products are the subject of a definitive new book by Dame Rosalind Savill: ‘Everyday Rococo: Madame de Pompadour and Sèvres Porcelain’.”

The Bond Street auction house gallery is aglow as Pol Roger Champagne and mince pies are served at an exhibition ‘500 Years of European Ceramics’ covering Italian, Meissen, Vienna and Sèvres porcelain to celebrate the book launch on the tercentenary of Madame de Pompadour’s birth. “This exhibition and book launch is organised by Bonhams and The French Porcelain Society,” introduces Nette. “If you’re not a member of the Society, shame on you! Ros wrote a seminal book 41 years ago on The Wallace Collection Sèvres and to her credit it has remained up there with the best of books on the subject. It’s sold out. This new book is of the same canon… ‘Ros’, as she is known to all, is exceptional, generous, charming, persevering and kind.” Addressing the author directly, “You are a demigod of competence darling angel, simply the best; we are all the keenest members of your fan club tonight!”

John Whitehead, authority on 18th century decorative arts and Committee Member of The French Porcelain Society, continues, “Ros is the greatest scholar blessed with an extraordinary talent for communicating. Her events at the Society are always a sell out and her enthusiasm is infectious.” Back to Nette: “The tone of this book is all about hearing her talk. It feels so personal and lovely… Now it’s time for the Dame!” Dazzling in a Sèvres pink coloured dress, Dame Rosalind Savill discusses her book. She was of course Director of the Wallace Collection London, 1992 to 2011, and is a specialist in French decorative arts, especially Sèvres.

“We are here to celebrate the 300th birthday of Madame de Pompadour. She kept youth on her side, right to her death,” notes Rosalind. Nancy Mitford rhapsodises in her 1968 biography, “Madame de Pompadour excelled at an art which the majority of humans being thoroughly despise because it is unprofitable and ephemeral is the art of living.” Rosalind again, “This book covers her daily routine and what she bought each year in court. The pieces vary from simplicity to embracing the wildest extravagance – a gamut of some of the best ever produced. You can’t help but be drawn into these beautiful but useful pieces. It is their quality, their specialness, that makes them exquisite. The colours are so unbelievable and unlike textiles they haven’t faded. This is the 18th century staring you in the face!” She points out the beauty of one piece decorated with peacock feathers resembling the Christmas street decorations outside on New Bond Street. And the functionality of another: a cup with a deep wide saucer for drinking hot milk in bed. “Madame de Pompadour was worn to a frazzle trying to keep the whole show on the road. Louis XV couldn’t bear not to have her by his side.”

Pierre Arrizoli-Clémentel, Directeur Générale du Châteaux de Versailles, summarises in his Forward to the book, “In these beautiful volumes Rosalind Savill has had the inspired idea of recording the annual calendar of Sèvres manufacture for the marquise’s incessant orders which reveals her true love of French porcelain.” Rosalind entices the reader with her opening line, “Imagine being 23 years old and suddenly isolated in the competitive, combative world of the royal palace of Versailles.” Such an imagination is brought vividly to life in two volumes totalling 1,232 pages weighing 7.5 kilograms. She elaborates, “It is possible to trace her annual purchases from the factory, month by month, revealing how these were often intimately connected to events in her life.” Intriguing chapter subtitles range from ‘Dairies and Milk Mania’ and ‘Washing, Hygiene and Health’ to ‘Pets: Dogs, Birds and Other Animals’ and ‘Letter Writing: Embroidery and Knotting’.

The work is polished and academic yet entertaining and full of fascinating anecdotes from “Madame de Pompadour helped make bathing popular” to “She remarked on the King’s tenderness towards his children, though she was critical of their looks.” Rosalind writes movingly of the impact of her female subject’s death: “Louis XV outlived Madame de Pompadour by 10 years, but nothing could replace his 19 year relationship with her. Voltaire wrote of how surprising it was that ‘a beautiful woman should die… in the midst of the most dazzling career in the world.” In the words of Nancy Mitford, “After this a great sadness fell upon the Château of Versailles.” The last paragraph pf ‘Everyday Rococo’ sets the scene for the title of these volumes, “She was perfectly in tune with the rococo period in which she lived, and enabled it to evolve and flourish. But mostly she was buying exceptional objects to enhance her everyday life.” Dame Rosalind Savill dedicates her brilliant publication to “my darling daughter Isabella Dove Savill.”

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Architecture Fashion Hotels Luxury People Restaurants Town Houses

Lavender’s Blue + Rue de Rivoli Paris

A Boulevard of Dreams and Things

Rue de Rivoli Archway Paris © Lavender's Blue Stuart Blakley

“We met at the little bar across the place from Dior’s called the Fontaine-de-something and had one – two – three Champagne cocktails on my expense account. Then we had lunch.” Shamrocks and Unicorns, Lord Kilbracken

Rue de Rivoli Railings Paris © Lavender's Blue Stuart Blakley

“The Rue de Rivoli is very straight and unaltered from end to end: three simple storeys above an arcade,” according to Nairn’s Paris. “But it feels quite different from the autocratic straightness of the 18th century. That was for show; this, basically, is for convenience, and there is a fine, underplayed urbanity in the way Percier and Fontaine consistently refused to hot up what is in fact a very long elevation. Impersonal but not inhuman; the mile long covered street never gets on top of you, and life can take what shape it likes inside the framework.” Life takes on a luxurious shape inside No.228 Rue de Rivoli: Le Meurice, an urban Versailles.

Rue de Rivoli Decorations Paris © Lavender's Blue Stuart Blakley

Rue de Rivoli Hotel Meurice Mansard Paris © Lavender's Blue Stuart Blakley

Rue de Rivoli Paris © Lavender's Blue Stuart Blakley

Rue de Rivoli Cornice Paris © Lavender's Blue Stuart Blakley

Rue de Rivoli Lamps Paris © Lavender's Blue Stuart Blakley

Rue de Rivoli Sky Paris © Lavender's Blue Stuart Blakley

Rue de Rivoli Hotel Meurice Window Paris © Lavender's Blue Stuart Blakley

Rue de Rivoli Le Meurice Hall Paris © Lavender's Blue Stuart Blakley

Rue de Rivoli Hotel Meurice Mirrors Paris © Lavender's Blue Stuart Blakley

Rue de Rivoli Hotel Meurice Ceiling Paris © Lavender's Blue Stuart Blakley

Rue de Rivoli Hotel Meurice Chairs Paris © Lavender's Blue Stuart Blakley

Rue de Rivoli Hotel Meurice Cushion Paris © Lavender's Blue Stuart Blakley

“I love Le Meurice!” professes chic Parisienne Maud Rabin over Alain Ducasse Selection Champagne and almonds in Bar 228. Fellow Parisienne Elisabeth Visoanska, forever epitomising chicness too, reckons, “Le Meurice is a Parisian palace injected with the modernity of Philippe Starck. It’s a clash of two worlds. Yesterday there was a giant ice sculpture in the middle of Bar 228!” Bookending Paris in spring, it’s our second midwinter visit in a row to the five star plus hotel; likewise, we graced Hôtel Meurice in Calais with our presence over the last two midsummers (Calaisfornians know how to street party!). Living joyfully and fearlessly, forever in search of beauty and the unbeknownst, we’re alive to every sensation and experience. Paris just keeps on sizzling.

Stuart et Maud Le Meurice Paris © Lavender's Blue Stuart Blakley

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Architecture Art People

Trevor Newton + Dartmouth House Mayfair London

The First September

The new year really starts each autumn. As the first golden leaves fall, where is it possible to see The Wallace Collection, Sir John Soane’s Museum and a swathe of Parisian hôtels particuliers in one room? In the Long Drawing Room of Marchmain Dartmouth House, on the same street where Oscar Wilde once resided in Mayfair, but only if you’re on the exclusive invitation list to the EV (Evening View). This house beautiful is not open to the public. Interior Impressions, a major exhibition of drawings by Trevor Newton is presented and curated by Anne Varick Lauder. It’s the first monographic exhibition of the accomplished artist in eight years.

New York born London based Dr Lauder, who has held curatorial positions in the J Paul Getty Museum, the Louvre and the National Portrait Gallery, announces, “We are delighted to be in the Long Drawing Room for the Private View of new drawings by the English topographical artist Trevor Newton. All 60 new works are of grand or highly individual British and European interiors from Versailles to The Ritz, to the Charleston of the Bloomsbury Group and the intimate Georgian houses of Spitalfields. It is therefore appropriate that this invitation only exhibition should take place in one of the finest private interiors in Britain.” She adds, “Interiors within interiors!” A 21st century – and for real – Charles Ryder.

Trevor studied History of Art at Cambridge, later becoming the first full time teacher of the subject at Eton. A present of The Observer’s Book of Architecture for his eighth birthday spurred a lifelong interest in buildings and their interiors. Rather than pursuing modish photorealism, he sets out to capture impressions of a place, often adding whimsical details imagined or transposed from other sources. His atmospheric renderings experiment with the interplay of light and reflection. Dense layers of mixed media – body colour, pen and ink, wash, watercolour and wax resist crayon – evoke a captivating sense of the aesthetic and nostalgic. His framing portrays a theatrical awareness of view: how the onlooker visually enters the room. There’s an enigmatic absence of people yet signs of habitation: a glass here; a magazine there. Trevor says, “My drawings are attempts to convey the emotions generated by art and architecture.” Emotional revisits. Anne considers, “It’s like he redecorates on page.”

Fellow alumnus Stephen Fry recalls, “While many of his contemporaries at Cambridge were Footlighting or rowing, Trevor seemed to spend much of his time drawing and painting. His specialities then were lavish invitations for May Week parties, illustrated menus for Club and Society dinners, posters and programmes for plays and concerts, along with a highly individual line in architectural fantasy drawn for its own sake and for the amusement of his friends. He managed to combine the frivolous and the baroque in a curious and most engaging manner: Osbert Lancaster meets Tiepolo. Trevor is still drawing and painting as passionately as ever and though the content of his work may be more serious, in style and execution it still has all the youthful energy and verve which characterised it over 30 years ago.”

Dartmouth House is something of a hôtel particulier itself. A château-worthy marble staircase and 18th century French panelling in the reception rooms add to the cunning deceit that just beyond the Louis Quinze style courtyard surely lies the Champs-Élysées. The Franglais appearance isn’t coincidental. In 1890 architect William Allright of Turner Lord knocked together two Georgian townhouses for his client, Edward Baring (of the collapsible bank fame) later Lord Revelstoke, to create a setting for his collection of French furniture and objets d’art. Ornament is prime. Dartmouth House is now the HQ of the English Speaking Union. Except for tonight. When it’s utterly-utterly Great Art Central.

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Hotels Luxury Restaurants

Hôtel Plaza Athénée Paris + La Cour Jardin

Up and About in Paris and London | Garden of Eatin’ 

We fill the lacuna 

Lunch where? Paris. C’est le weekend. We’re Ivy’d out midweek although the Soho and Tower Bridge Brasseries’ zucchini fritti and truffle arancini are highly addictive. We’ve been wild about the Century Club’s wild mushroom burger. Hôtel Plaza Athénée Paris. Bows and bows of balconies along Avenue Montaigne. Next door to Christian Dior’s original couture house. The dress code for La Cour Jardin – the hôtel’s exclusive courtyard restaurant – is “elegant”. Ah bien. It’s cheek to high cheekbone with models. Martinets or marionettes? Ask Webb’s Road resident runway veteran Simon Duke. Poppy red parasols like oversized cocktail umbrellas keep the wrinklies wrinkles at bay. Virginia creeper clambering up the stone walls, smart trellis chairs among olive trees and acres of linen tablecloth… really the whole place simply oozes Parisian sophistication. The century old courtyard has been pimped and pruned to perfection by designer Bruno Moinard, displaying a talent for resonant juxtaposition. So this season.

We live off our acuity and salutary reminders

More mirrors than Versailles; more columns than the Coliseum; more pizzazz than Versace: this is the new luxury. Friday Street. Field of freedom. Earned ease. En plein air. A galaxy of culinary stars has aligned to make this restaurant happen. We’re star struck. Le grand fromage himself Alain Ducasse hooked up with Lawrence Aboucaya, owner of legendary Parisian vegetarian restaurant Pousse-Pousse, to concoct a homage to high energy menu. Under the watchful eye of Head Chef Mathieu Emeraud, the menu is fashionably divided into The Garden | The Classics | The Sea + The Shoreline | The Land + The Farm | The Herbs Garden | The Desserts. Just in case you miss the celebrity connection, there’s Alain Ducasse’s own brand champagne and the menu cover features an 18th century botanical watercolour from his personal collection.

We spend our years as a tale that is told

Sicilian olive oil accompanies randomly zoomorphic bread rolls, hatching out of folded linen baskets like long beaked ducklings. Artichoke and lemon risotto (€36.00) possesses all the freshness of The Garden. Tomato and pepper amuse bouche matches the red awnings. So does the John Dory, dusted with tomato and fennel (€58.00). Wide brimmed plates generously frame the food. Strawberry and almond (€22.00) come with madeleine on the side. And as an encore, orange and something petit fours. Chef Pâtissier Exécutif Angelo Musa’s efforts might expand waists by a few millimetres, but everyone’s so worth it. The proof is in the pudding. Delish! Us! Service is seamless. Doors magically open, The New York Times deftly appears: minimum fuss, maximum attention. Rooms range from €990 (single) to €28,000 (party time).

Wonders unto many, we are magnified and tainted by elegiac projection, poignancy and beauty

The sommelier arrives to explain the wine we aren’t ordering. Côte de Nuits 2000 (Richebourg) and Côte de Beaune 1999 (Corton Les Renardes). Both vins rouge, both Domaine Leroy, both €5,800. The wines are: “A perfect balance of acidity, alcohol, tonic and flavour. They have a controlled, perfect constitution.” We go for the more modestly priced €12 Saint Galmier Badoit Finement Pétillante 1778 (naturally carbonated water, to you). Good for catwalk silhouettes. An early autumnal breeze gently ripples through the courtyard. C’est la vie. La Cour Jardin: such seductiveness; an air kiss; make it a French kiss; a momentary embrace; a dalliance to the music of time. Dynamic magnetised moments. Life’s marginalia. Mise en Seine.

We are not your nebulous want 

Dinner in London? What gives? Let’s do The Arts Club again. Hold the front page! Newspapers: today’s headlines; tomorrow’s cat litter. Business and pleasure handsomely combine at a private dinner with former Cabinet Minister and Chief Whip the Right Honourable Andrew Mitchell MP in the very non plebish Ante Room. Sharing plates can be terribly irksome but it does mean enjoying three puddings or at least dipping spoons in three puddings. Tout suite. Ever dedicated to a story arc, the wine is French de rigueur. Vermentino 2015 (Domaine des Yeuses, Vin de Pays d’Oc) and Légende de Lafite 2015 (Baron de Rothschild, Bordeaux). La vie en rosé. Not so good for catwalk silhouettes. Plus ça change, plus c’est la même chose.

  • Starters: green bean and artichoke salad | Caesar salad | prawn cocktail | Applewood smoked salmon with honey mustard dressing
  • Main: grilled seabass, marinated aubergine and tomato
  • Sides: creamed spinach | gratin dauphinois | glazed carrots
  • Puddings: baked cheesecake with cassis sauce and berries | banana sticky toffee pudding | strawberry tart

We are the chosen ones

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Design

Royal Botanic Gardens Kew London + The Queen’s Speech

Join the Queue 

Kew Gardens Christmas Trail © Lavender's Blue Stuart Blakley

Kew Gardens Christmas Trail. Lakeside explosions of The Nutcracker, kaleidoscopic cacophonies of the chattering classes, lower-upper-middle class people in glasshouses, why my Versailles. “Oh,” the Queen was overheard muttering at the recent dinner in her honour at Dublin Castle, “I rather like this clinking of glasses,” as the lively Irish in unison cheered “Sláinte!”  To quote another Elizabeth, the Anglo Irish writer Ms Bowen, “I think the main thing, don’t you, is to keep the show on the road.”

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Architecture Town Houses

William Thackeray + Small Villas Dublin

Perfectly Formed

1

It’s the Tardis effect. Buildings that are larger than they look. Dublin has them aplenty. Perhaps it’s a Franco Irish leftover from Marie-Antoinette’s pining to play at cottage living under the shadow of Versailles. Sir William Chambers’ 1758 Casino Marino, Italian for ‘little house by the sea’, is the Irish capital’s very own Très Petit Trianon.

In the 18th and 19th centuries, terraced dwellings with all the appearance of being single storey (ok, some of them actually are) sprung up across the city. Bungalows they ain’t. These are miniature sophisticated architectural gems in the grand manner.

3 Small Dublin Houses lvbmag.com

This low lying building boom really took off when the Dublin to Dún Laoghaire (née Dun Leary née Kingstown) railway was completed in 1834. These little houses were erected – standalone, semi or together – along the coast from Sandymount near the city centre southwards to Monkstown. The closest equivalent English style of the early versions is Regency.

4 Small Dublin Houses lvbmag.com

While some are all on one level, most have a flight of eight or so steps leading to a distinguished doorcase. Despite lacking the verticality of the townhouses lining the streets and squares of the city centre, these small houses still boast the typical Dublin doorcase treatment with attached columns separating the central door from sidelights and a half umbrella fanlight overhead. Many are three bay with a tall sash window on either side of the doorcase. Below the door is typically a string course and beneath it the shorter windows of a semi basement continue the lines of the windows above.

9 Small Dublin Houses lvbmag.com

The symmetry and classical proportions of these ‘upside downside’ houses as they are sometimes affectionately called, their main floor raised to piano nobile status, so evocative of French and Italian villas but in maquette form, raise questions about their origins. The Wide Street Commission of 1757, which lent Dublin such lasting gracefulness, could not rid the city of cholera or beggars. Middle class people quickly took advantage as speculators built summer houses or ‘bathing lodges’ along the stops of the new railway line.

Monkstown was one such area of sudden growth. It doesn’t get a mention in Pettigrew and Oulton’s directory of 1834 but a year later was recorded as being well populated. In 1843 Thackeray records in The Irish Sketchbook: “Walking away from the pier and King George’s column, you arrive upon rows after rows of pleasure-houses, wither all Dublin flocks during the summer-time – for every one must have his sea-bathing; and they say that the country houses to the west of the town are empty, or to be had for very small prices, while for those on the coast, especially towards Kingstown, there is the readiest sale at large prices.”

He continues, ‘I have paid frequent visits to one, of which the rent is as great as that of a tolerable London house; and there seem to be others suited to all purses; for instance there are long lines of two-roomed houses, stretching far back and away from the sea, accommodating, doubtless, small commercial men, or small families, or some of those travelling dandies we have just been talking about, and whose costume is so cheap and so splendid.’

The influence of the classical tradition in Ireland is easily traced to Sir William Robinson’s seminal 17th century Royal Hospital Kilmainham. James Gandon and Thomas Ivory flew the flag throughout 18th century Dublin. In the 19th century Francis Johnson, John Skipton Mulvany and the two generations of William Murray kept neoclassicism to the forefront of development. Chambers provided the precedential style of the mini villas; now all that was required was a forerunner in scale.

That comes in the form of an early domestic work by James Gandon. In 1790 he designed Sandymount Park for his friend the landscape painter William Ashford. Like a piece of couture, this house reaches a high standard of splendour which filtered down in a diluted prêt-à-faire fashion to the masses. The three bay symmetrical single storey over raised basement entrance front extends on either side by a blind bay with a niche at piano nobile level. A rectangular pediment (is there such a thing?) surrounded by one helluvan urn is plonked above the central doorcase. A peak round to the side elevation reveals that Sandymount Park is in fact a three storey dwelling: clerestory windows are squeezed under the eaves.

Single storey with or without a basement houses are an Ireland-wide phenomenon. Urban builders may have been inspired by their country counterparts. Gaultier Lodge, County Waterford; The Grove, County Down; and Fisherwick Lodge all express emphatic horizontality, a love of the longitudinal.

A printed source of inspiration can be added to these built form examples. In 1833 John Loudon published his voluminous Encyclopaedia of Cottage, Farm and Villa Architect. On one of its 1,400 pages, he illustrates The Villa of Hanwayfield which is three bays wide by three bays deep over a raised basement. A pitched roof behind a low parapet rises above the symmetrical elevations, similar to Dublin’s little villas. A few months after its publication, Loudon mentioned in two magazines that his doorstop of an Encyclopaedia had been a bestseller in Ireland. This coincided with the development of Dublin Bay.

11 Small Dublin Houses lvbmag.comWhatever the inspiration was, the fad stuck. Towards the end of the 19th century, Portobello in South Dublin was developed on a grid pattern of one and one-and-a-half storey terraced housing. The material (brick) and the fenestration (plate glass) may have been Victorian but the upside downside model ruled.8 Small Dublin Houses lvbmag.comToday, these mini villas of Dublin are much sought after hot property. Larger than life characters like actor Colin Farrell love them – he owns one in Irishtown. But still, a peculiar descriptive term eludes them. Their distant country cousin is a cottage orné. With that in mind, Lavender’s Blue declare ‘cottage grandiose’ as the correct terminology henceforth.7 Small Dublin Houses lvbmag.com